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Curtis Needs a Ride
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Monday, March 26, 2007
 Curtis Needs a Ride hails from Fort Worth. They usually come down to Austin about once every 2 months to perform at the Hideout. But despite having successful shows, and fans that make the trek down to see them, they have remained a mystery... until now. We cornered Austin Hines, troupe member, and forced him to give up the goods.
DB: Tell us about your troupe.
Austin: Curtis Needs A Ride started as a side project. All four of us are or were in Senseless Acts of Comedy (SAC), the TCU improv troupe in Ft. Worth. Some of us graduated and therefore had to leave SAC, but weren't about to quit improvising. Originally there were only 3 of us in Curtis Needs A Ride but that soon turned to 4 - what we consider a perfect number. We started hitting up some local (and not local) clubs to see where we could perform. Our biggest response has been from The Hideout. We love Austin and the people at the Hideout have all been great. We don't have any "plans" or "goals" for the troupe necessarily, we just love improvising. I don't think we're ever going to get tired of each other, so there's no telling how far we'll take it.
DB: How did you guys get started and how long have you been performing?
Austin: Our eldest improviser has been going now for 5 years, and our youngest for only 1. But if you came to watch a show you'd never guess who had more experience. We all have different strengths and personalities, which makes for some good diversity. Most of us never took improv seriously as an artform until we got to TCU. SAC performs weekly to at least 60 people - and it's not slapstick hour. We all had to work our way through auditions and sometimes two practices a week. We have also all taken classes at Four Day Weekend (Ft. Worth's finest improvisers) for a few years now. The most important thing for us though, is just getting experience working together. We're all friends, we all have a good time performing, but we also all take it very seriously.
DB: What short and longterm goals does Curtis Needs a Ride have? What does the next year hold?
 Austin: 3 of us are going to Guatemala for a week with a local Church to build some houses - a very short term goal for us is to perform for some Guatemalans. We don't really speak Spanish, so it will be a good exercise in wherework and emotional adjustments. A longterm goal is to send off some tapes to a few festivals, get accepted and perform in one. Also we'd like a cool logo so we can make some coasters.
DB: What's the Fort Worth improv scene like?
Austin: There's not much improv in Ft. Worth. We have Four Day Weekend downtown who have a great theatre and do 4 shows a week, and those guys are very professional. Then there's the TCU troupe which performs a lot, but anyone outside of the TCU bubble probably hasn't had a chance to hear about them. The biggest problem is people don't really think about improv, or even really know what it's all about. If you ask someone to go see an improv show they will probably ask what it is... "You mean, whose line is it anyway"... there's no concept of improv as art. As for us, we can perform at a coffee shop here and there but there aren't any known "improv venues" in the area.
Curtis Needs a Ride is performing in the Double Barrel on Friday March 30, 2007.
They can be found on MySpace at http://www.myspace.com/curtisneedsarideLabels: curtis needs a ride, interview
McNichol and May
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Thursday, March 22, 2007
 Mcnichol and May are a Chicago-trained duo that also happens to be married. They perform some the smartest most award-winningest improv and sketch in Austin. They also teach classes, and perform with The Frank Mills.
Read on for a discourse on Chicago, the Origin Story of M&M, and puppies.
DB: What got you both doing improv?
Erika: I moved to Chicago at the end of 2000 to take classes at Second City, thinking I would be doing sketch. I enrolled in the writing program and the IFA (improvisation for actors) program; at that point, improvisation was just a means to an end (sketch) for me. My only touchstone for improvisation was short form, which I had seen once or twice. It didn't really call to me, at all. After a couple of months of classes, my classmates were talking about taking classes at this place called Improv Olympic, where you could get a lot more stage time. I wanted to learn everything I could, so I called up and was put on the waiting list for classes. I started at IO in April of 2001 and was put on a team in October. The IO philosophy centers on thematic longform, playing realistic characters and finding the funny through truthful interactions. The emphasis on well-acted comedy really appealed to me, too. I've been performing ever since.
Bob: Some friends and I moved to Chicago in the summer of 1999 - I was thinking I would play in bands and stuff there. On a whim, influenced by lack of money and lots of free time, my roommate and I went to a free night at a place called ImprovOlympic. I wasn’t sure what to expect, but had low expectations - I was thinking it would be like standup or Who’s Line type stuff. We were both blown away to see this whole thing crafted before us, and returned to see tons more shows over the next year. Finally we decided we should either shit or get off the pot, so we signed up for classes... and loved it! I was put on a team at IO after I finished classes, performed in/on a bunch more teams/shows over the years. And now I’m in Austin.
DB: When did you decide you wanted to perform as an
improv duo?
Erika: The weird thing is, it wasn't a conscious decision at all. Tight had been accepted to perform at the Del Close festival in New York a month or two after we got here, and had scheduled a slot in the threefer (it was the twofer then, I think?). Since we hadn't planned on going to the festival, Bob and I agreed to fill in for the night. We were trying to come up with a name and Andy Crouch recommended we call ourselves "McNichol and May", after Nichols and May. We ended up having a kick-ass time performing together, and were pleasantly surprised by how much audience members and other improvisers dug it, so we decided to keep doing it under that moniker.
Bob: We’d actually met in Chicago by working in this three-person group that never really came to fruition, just a bunch of rehearsals. We never really worked together outside of that initial group until we got to Austin.
DB: How do the goals of McNichol & May differ from that of your larger team, The Frank Mills?
Erika: Personally, I want the Frank Mills to be the standard-bearer of thematic, character-driven improvisation and sketch - to demonstrate the very best of the artform and what it can be. For me, McNichol and May is about experimentation and tradition; using media to inform scene ideas (as in Guided by Videos), playing with the intersection of sketch and improv and pushing myself as a player, etc.. Right now, I'm really excited about the idea of McNichol and May getting all old-school and performing the Harold. It gets a bad rap down here, and it kicked my ass when I was a newer improviser, but it's survived for a reason - it’s a great form for dissecting the audience suggestion and translating it into a thematic statement.
Bob: I don’t really think of the teams or groups I’ve been in having separate goals necessarily. I have more personal goals for what I want to bring to a group or show. But I do think the group mind / group personality drives what the team ultimately does, and not always intentionally.
DB: How does being married affect the group dynamic of McNichol and May?
 Erika: It's awesome. We lucked out, I think. Most of the time, we entertain ourselves by doing bits when we're hanging out…we’re really stupid around each other and have zero judgment of each of our individual dork outs. I trust Bob completely and know my ideas will not only be accepted, but improved upon - it makes it easy to be in the moment on stage.
Bob: I want to give a stupid answer to this, but I really agree with Erika there. It’s just like any group relationship - the more trust and group mind you have, whether it’s between 2 people or 10, the better. We’ve been building up trust and group mind for years outside of improv, so it really helps when we bring it to improv. It’s also easier to schedule rehearsals and get rides to shows.
DB: You guys migrated from Chicago. How do the Chicago and Austin scenes differ?
Erika: Chicago is a more mature scene, merely because it's been around since the 1950's. With that comes more competition for stage time and a more institutionalized philosophical approach at the various theatres. There's also a lot more focus on making it commercially, and - as a result- players that are interested in getting hired for Tour Co. and eventually getting cast on SNL or the Daily Show feel compelled to select projects that are going to be good vehicles for buzz. There's still a good variety of work going on, and the individual theatres tend to trade off in taking the baton of experimentation. For example, Annoyance Theatre (where Mick Napier is the artistic director) is experiencing this huge artistic growth spurt right now and a lot of old-school Improv Olympic people are now gravitating there to play. In Austin, I think there's still a variety of philosophies going on at each of the theatres, but it seems to be moving towards having a 'house feel' at each. Austin also has a ton more performance opportunities, especially for newer players. There's less 'culling out' of players at early levels, which I think is going to help cultivate a more diverse sense of what good improvisation can be, vs. a narrow evaluation of potential that’s based on eye of the institutional beholder. The downside is that quality is inconsistent and players don't always take their shows seriously here, because there's no disincentive to sloppy work. That said, Austin has some awesome players, and I think that is because people are given the opportunity to chart their own path.
Bob: I agree that there are people with those end goals in Chicago.. of making it to film or tv or whatnot - simply because the steps that can lead to that exist in Chicago. But there are a lot of people there who really just enjoy performing improv and don’t give a crap about any of that other stuff. Also, we have maybe, what, 50? 75? 100 tops active improvisors down here. I think it’s hard to imagine coming from our environment, but in Chicago there are thousands and thousands of people doing improv. Additionally, there are many, many people in Chicago who have been performing improv for 10, 20, 30 years and continue to. More importantly, those people are also often teaching and coaching newer improvisors, so there’s a depth of knowledge and understanding that exists in Chicago that’s really unmatched in other city. Chicago has improv and sketch shows every night of the week at this point, and at multiple theaters. And people move to Chicago specifically to learn/perform improv, and to take those steps that lead to tv/film/etc. So, in some ways, we have a different dynamic down here, as anyone who’s improvising in Austin isn’t concerned about climbing any ladder or anything. If you’re improvising here in Austin you’re doing it simply for the love of the craft. I like that alot. Because nothing is institutionalized or really set in stone down here, the AIC has really brought everyone together and it feels like we’re driving the cart. It’s much harder to have that sense in Chicago because you are not always in charge of making those creative decisions, or it’s much more diffcult to make them. I can safely say we have a very enviable situation here.
DB: What improv groups, past or present, have inspired you?
Erika: TJ & Dave, Weirdass (Stephanie Weir and Bob Dassie), Bassprov, Valhalla, to name a few. I also like watching newer improvisers, and make a point to see how some of my favorite players around here approach stuff, especially if I'm feeling stuck.
Bob: Oh man. I could rattle off a bunch of old names and groups, but I’ll just say I’m influenced by the people I work with and by the groups I’ve been lucky enough to see through my time in Chicago and here in Austin. I also will echo Erika and say that some of the most inspiring stuff comes from people who are newer to improv because they don’t have as many boundaries in their mind as to what one should or shouldn’t do, so it’s often a more creative fountain there. Also: Peter Cook, Peter Cook, Peter Cook. And Cantinflas.
DB: How's the new puppy working out?
Erika: Okay. We thought all that energy we saw at the shelter would translate into being really good at editing and pacing, but she's really playing back on her heels so far.
Bob: She’s a handful. She’s the sweetest creature in the world, but man is she also infuriating at times. And she understands almost no English, so communication has been tough. She’s about 65 lbs, all muscle, but she thinks she’s still a tiny puppy. This has led to lots of wacky and hilarious situations.
DB: What have you been obsessed with recently?
 Bob: One thing has been the astounding amount of music on film/video/tv that has surfaced over the last 5 years or so due to the ease of file sharing, the ease of home video conversion (ie. VHS ---> DVD), and the lack of degradation with digital copies. I’ve been able to see bands perform I missed when I was younger or I am too young for. Recently I’ve found an amazing Nation of Ulysses show from 1992, a Thelonious Monk performance from Poland in 1966, Can on Germany tv in 1970, The Mummies on public access tv in 1991, Television rehearsing in 1974... just tons and tons of stuff. I’m admittedly obsessed with tracking down as much as I can, as much as my hard drive can hold.
Erika: I dont know that it's so much of an obsession as an interest, but I've been actively looking for and purchasing vintage clothing. I just bought a squaw shirt that looks like it was part of a band uniform in 1976. It made me feel like a superhero, so I bought it.
McNichol & May are performing in the Double Barrel on Friday, March 23rd, 2007.Labels: interview, mcnichol and may
Leading Brands
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Monday, March 19, 2007
 The Leading Brands recently performed their 1 year anniversary show in the Double Barrel. We asked the Brands about their past, their future, and their curious custom of giving away valuable prizes to audience members.
DB: Your upcoming show on 3/16 marks your 1 year anniversary as a troupe. What are some favorite troupe memories of the past year?
LB: Some of our fondest memories were of our first rehearsals in Frank's barn. We were working on improv of course, but also on our group dynamic. It was a mix of suffering through winter rehearsals with little more than a space heater to keep us warm and then hanging out together afterwards and eating and drinking till late. In hindsite, we had some of those "we lived through that together" kind of experiences. Several of us also took a road trip together out to San Francisco for an intensive workshop with Keith Johnstone which was a great time to be a part of the troupe.
DB: What will the next year bring for the Leading Brands?
LB: We're hoping for a year of improved consistency and increased variety in our formats. We've had a string of strong shows recently so we're already on our way.
DB: You often give away the "leading brand" of some product to an audience member at each show. Name some of them. What was the most expensive?
We've given away everything from Easy Mac to Mexican gum to Toilet Paper and sometimes some more obscure items from other countries when members of the troupe have traveled recently. They don't cost a lot of money generally, but people appreciate them. We gave away giant water noodles once and we later saw the audience member awkwardly carrying it down sixth street. The most expensive was probably a bucket of Dos Equis that we bought on the quick because we had forgotten to pick something up beforehand.
DB: Describe a typical Leading Brands rehearsal.
The Leading Brands like to entertain. It's in our blood and when there's no audience - we entertain each other. We also tend to start or end with food. That's part of the deal and why we hire coaches to keep us on point and focus on our objectives rather than just making merry.
DB: If you could sum up The Leading Brands into a single slogan or philosophy, what would it be?
Hmmm..... The Leading Brands saved me 15% on my car insurance ??!!!
DB: What's the best part about being in the AIC (Austin Improv Collective)?
Well, shucks, all the nice people in this community... we're privileged to perform this art form with such fantastic peers who continue to grow and inspire us.
The Leading Brands performed in the Double Barrel on 3/16/2007.
Visit their website at http://www.theleadingbrands.com.
Labels: interview, leading brands
Girls Girls Girls
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Wednesday, March 14, 2007
 Shana Merlin, founder and member of Girls, Girls, Girls was gracious enough to answer a few burnin' questions we had about the troupe, their goals, and the upcoming Ladies Are Funny Festival (LAFF).
DB: What is Girls Girls Girls?
Merlin: We are an improv comedy troupe that makes up full length musicals on the spot. We improvise the story, songs, and dances along with a live musical improviser. It's a ton of fun.
DB: Girls Girls Girls is now the oldest active improv troupe in Austin. What's the secret to your longevity?
Merlin: Making an improv troupe last is tricky. You need to get a group of people who have the same artistic goals as well as the same commitment level to the troupe. We are lucky in GGG to have a core membership that has both of those things. Plus we are really strict and structured. Everyone has a troupe job, whether it is treasurer, webmaster, or fluffer, who checks in on people and make sure they are feeling good in relation to the troupe. We have lots of business meetings, and policies on things from being late to rehearsal to what to wear in the show. And what we do is freakin' fun. It's addictive and keeps troupe members coming back for more.
DB: About how many different performers have been in Girls Girls Girls over the years?
Merlin: We have 7 Girls currently in the troupe and 1 musical improviser. We have about 10 alumni girls, and about 5 alumni musical improvisers. That's 22 total performers who have been in GGG.
DB: Tell us about the upcoming LAFF festival and GGG's role in it.
Merlin: GGG is so excited about this! We are producing LAFF, the Ladies are Funny Festival. On April 27-28 there is going to be a full weekend of performances by female improvisers, rap groups, clowns, and bands. We have performers from out of town and out of the state traveling to be here that weekend. Along with the shows there are going to be parties and panel discussions. We are going to build community, celebrate women in comedy, and entertain the crap out of our audiences.
DB: What does the future hold for GGG?
Merlin: We want to tour more around the country--booking our own shows and heading to festivals. When the Girls have a great show, we think we do some of the best musical improv in Austin and the nation. We want to spread the love, get tons of fans, teach workshops, get super rich, and drive pink and black cars. That, and the return of Boys of Summer, in July and August of 2007. Each Saturday at 8pm we will have a guest boy perform a musical with us.
DB: What's the hardest thing about doing musical improv that probably wouldn't occur to most people? Labels: girls girls girls, interview
Available Cupholders
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Tuesday, March 06, 2007
 We had a little sit-down with Jeremy Lamb, director of and performer in The Available Cupholders, one of Austin's most popular and experienced improv troupes. He had much to say about flexibility, Chicago, the evolution of improv, and 'making it' financially as an improviser.
DB: The Cupholders migrated en masse from Chicago not too long ago. How would you describe your experience as a troupe in Chicago versus your experience in Austin?
Lamb: It's hard for a group to get serious play in front of audiences in Chicago. Despite our credentials, I submitted repeatedly to be a guest team on the Playground schedule and was rejected. We played shows to very small audiences at the Cornservatory and to mostly improviser-heavy crowds at what amounts to open mic spots at local bars. These improviser crowds either didn't understand our style, or were not willing to give up the laughs. Our shows and morale suffered because of this.
Troupes, or teams as they are called in Chicago, are usually formed by a training center that is geared to perform on their stages. They can control content and quality this way. This also makes it impossible to perform in front of a decent audience without going through a training center.
We even did a week in weird places series where we did 5 shows in one week in odd locations all over Chicago. This was poorly attended save our Saturday show downtown which did very well. It was maybe our most triumphant show in Chicago.
Austin is what Chicago is not and that's what makes it a better and cheaper place to live and train in my opinion. The scene is more open and the talent per capita far surpasses that of Chicago.
DB: You guys tour a lot compared to other troupes. How do you tailor your shows to fit the places/events you'll be playing?
Lamb: We are a very heavy audience mindset group. Some groups don't care about what's going on with the audience, whether they're having a good time, what have you. We've played a lot of weird circumstances and playing on the road in various situations teaches you a lot about not knowing what to expect, and adjusting on the fly. We've played conservative Christian colleges repeatedly. We played a hippie resort town, we played what amounted to an RV park in North Texas for old folks and their grandkids. It's gotten pretty weird. We played a show to an audience of 7 in a lecture hall in Massachusetts and then played to a gym full of 600 college students in Wisconsin the next week for the same paycheck. We've played shows for 5th graders. There's really no end to what we'll do and it's all about getting in the audience's head and taking a best stab at what we think they'll like as a collected unit. We've failed many times, of course. Our first college show in 2004 was in rural rural rural Oklahoma and we had people clearing out of there just bored silly by what we were doing. That sucked. But, we actually learned a lot from that experience. Improv is all about immediate adaptation and that's what we've been able to do with each show since then.
DB: What does the next year hold for the Cupholders?
Lamb: Sweeping, awkward feeling change. Two of us are moving out of state, and a third is threatening to move as well. This is what keeps me up at night. I don't want to break it down and start all over, get a new stupid web domain and cast a whole new bunch of people. So, I don't know exactly what's going to happen. I have a couple people I'd like to invite into the group but I don't want it to get out of control as well. If everyone moves back in a year, I don't want to have a 7-person troupe bickering with itself about stage and touring time. I don't know what the fuck I'm going to do.
DB: The Cupholders seem to perform new formats of improv shows all the time. What's the process and motivation for coming up with new formats?
Lamb: We have found this is the best way to retain and introduce new audience members to improv. Old people who like us want to see us try new things all the time and new people are maybe hooked by whatever recent idea we've come up with. You can tell someone you're doing a show a thousand times but until you hook them with something that sticks in their brain as something they want to see, you're wasting your breath, and your flyer.
Plus, format innovation is the essence of evolving the artform. A stagnant artform dies away as it is unable to adapt. The evolution of the form ensures that it's zeitgeisty and that's what people want I've found. And stuff that works, we revisit. We like to mix it up but we're certainly not afraid to do an oldie but a goodie that still seems relevant.
DB: What's been your proudest moment for the Cupholders so far?
Lamb: I'd say being able to make this into a viable business that turned a profit in 2005 as a touring company was a huge accomplishment. Keeping it together would have been another feat altogether but to know it's possible to do improv and get paid for it, in most cases quite well, is a beacon of hope for the artform and for me personally. Working in improv theatre as my sole career is Goal One for my life.
The Available Cupholders perform in the Double Barrel on 3/9/2007, along with Girls Girls Girls.
Labels: cupholders, interview
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